Major view
C major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = B (leading tone, pulls home)
- 4 = F (the note that leans on the 3rd)
Mümin Sarıkaya - Al Başımdan Bu Dertleri - Chord
Key C major – A minor Chords Am, Em, C, G, Dm, F Difficulty already in its easiest key
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Key: C | Am
Capo: 0
C Dm
Sabah olur gözüm yaşlı
G Am
Bulunmaz akşamın aşı
Dm
Sabah olur gözüm yaşlı
G Am
Bulunmaz akşamın aşı
Am Em
Bu dünyanın kara kışı
C G Em
Yağar başıma başıma
Am
Al başımdan bu dertleri
C
Kaçırdım aklım fikrimi
Am Em
Aldığım şu tek nefesi
C G Em
Çeksem ciğerden ciğere
Am Em
Aldığım şu tek nefesi
C F Em
Çeksem ciğerden ciğere
C Dm
Çaldım dostun kapısını
G Am
Dayadım üç gün sırtımı
Dm
Çaldım dostun kapısını
G Am
Dayadım üç gün sırtımı
Am Em
Yediğim bir kaç lokmayı
C G Em
Çalar başıma başıma
End of song Play again?
Mümin Sarıkaya - Al Başımdan Bu Dertleri Tabs
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Harmony analysis
Mümin Sarıkaya – Al Başımdan Bu Dertleri: key and chord analysis
The song opens on C and ends on Em. Its chords belong to both C major and Am, so every chord below is read both ways.
Minor view
A minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = F (the minor's melancholy)
- b7 = G (natural-minor colour)
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between C major and A minor because it opens on C and Am is heard 9 times against 7 for C. Try reading the chords both ways and see which feels more like home to you.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to C or to Am; comparing both readings is a practice of its own.
Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | C | Tonic — home | C · E · G | 7× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 4× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 8× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 1× |
| V | G | Dominant — strongest pull home | G · B · D | 7× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 9× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 9× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 7× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 4× |
| v | Em | Minor dominant — soft pull | E · G · B | 8× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 1× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 7× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 36 times in total; 6 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×4
- Dm G Cii → Vii → V Amiv → VII ×4
- Em Am Ciii → vi Amv → inatural-minor cadence ×2
The move to watch is G → Am, heard 4 times. From the C side it reads V → vi (deceptive cadence: expected C, lands on Am); from the Am side it is VII → i (Aeolian arrival: rises a whole tone into home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
- Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
The song on the circle of fifths
- Played in the song — chord of the key
- Played — the minor's harmonic V or a secondary dominant
- Played — borrowed or outside chord
- Home region: IV–I–V and ii–vi–iii
Empty slices are chords the song doesn't use.
Capo and easier keys
With C major shapes
- No capo — open C shapes
- Capo 3 + A shapes
- Capo 5 + G shapes
With A minor shapes
- No capo — open Am shapes
- Capo 5 + Em shapes
- Capo 7 + Dm shapes
Easiest keys on guitar
The song is already written in its easiest key for guitar.
The song's harmonic story
Starting on C, the song gives away its key from the very first bar. The chords that keep coming back are Am, Em, C, G; read them as vi–iii–I–V in C or i–v–III–VII in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G → Am (V → vi in C, VII → i in Am): deceptive cadence — expected C, lands on Am. The final chord is Em; the ear comes to rest in C.
This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.
Mümin Sarıkaya - Al Başımdan Bu Dertleri Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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